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There’s a scene in the middle of this film where Benicio Del Toro’s lawyer-turned-exterminator Alejandro is staggering across a Mexican wasteland trying to find a place to hide out. Actually, that happens a couple of times: it’s just that kind of film. But the first time it happens he stumbles across a humble Mexican shack-dweller who, together with his wife, happens to be deaf. Fortunately it turns out Alejandro knows sign language, so after a rest and a quick hand-chat about “different worlds” (the shack-dweller’s baby isn’t deaf), the film moves on. You’d be forgiven for thinking this ominous but otherwise pointless scene is setting up a later development where knowing sign language comes in handy, but no: the point of this scene is to let us know that the only people in Mexico who aren’t corrupt or criminal are deaf and living in a shack in the middle of nowhere, because Mexico is literally Hell on Earth. Which, if you saw the first Sicario , isn’t much of a shock, but at least the...

Dinosaurs! The appeal of seeing prehistorical monsters lumber around has been the central hook in every movie with "Jurassic" in the title no matter what well-meaning Laura Dern and Jeff Goldblum fans would have you believe. Humans in these movies are there to act stupid, look astonished, and occasionally get eaten: the big problem with Jurassic World: Fallen Kingdom is that we don't get anywhere near enough of that last one. It’s been three years since the Jurassic World theme park on Isla Nublar was trashed, and now an erupting volcano on the island looks set to finish the job. While the US government dithers, Sir Benjamin Lockwood (James Cromwell) and his aide Eli Mils (Rafe Spall) hire Claire Dearling (Bryce Dallas Howard) to help retrieve the dinos and transfer them to an all-new island. You don't remember Lockwood? He was the partner of the first film's John Hammond (Richard Attenborough), only they had a massive falling out thirty seconds before that film ...

How many characters are too many for an ensemble film? At a time when Ocean's 8 seems more like Ocean's 4 and the Rest , it's easy to feel that Hollywood shouldn't be allowed to make a film with more than two characters on screen at any one time. Tag largely gets around this by making the focus not the group but the mission: they're a bunch of middle-aged men still playing a schoolyard game, and that's pretty much the most interesting thing about all of them.   Something this stupid has to be based on a true story, and so it proves to be: for one month each year, the same group of now middle-aged American men (and men only) play a game of tag that’s been going on for decades. This time though, there’s a twist: the only member of the group who’s never been tagged is getting married during the month, so for once everyone knows exactly where he’s going to be.     What makes this often funny film work is that it doesn’t mess around; aside from ...

Like the crimes they depict, a well-planned heist film requires a range of elements to come together in harmony. For a long while these elements were pretty well known - a colourful cast, a complicated plan, an exciting location, various outside factors that could throw things off balance and so on. But in recent years heist movies have discarded some of the core features of the genre. It hasn't been an improvement. Fresh out of jail after almost six years, Debbie Ocean (Sandra Bullock) has promised to go straight. Straight back to her con artist ways, more like it. But this time she has a big score in mind: she wants to steal a $150 million dollar Cartier necklace from the neck of movie star Daphne Kruger (Anne Hathaway) during the glamourous Met Gala ball. But first she and her partner in crime Lou Miller (Cate Blanchett) have to get the necklace on Kruger's neck - and for that they're going to need a team. So far so good, especially after a fun opening where Ocean (siste...

Hollywood is constantly reviving old genres, only most of the time nobody notices because the movies sink without trace. Gringo - an attempt to revive classic 90s-era Tarantino knock offs like, uh, 2 Days in the Valley - is the kind of film whose presence in cinemas seems a little surprising (finally, the David Oyelowo star vehicle we've been waiting for!) until you spot Australia's own Joel Edgerton up the top of the credits. And with his brother Nash directing (in only his second film, after the underrated The Square ), this is more Aussie than half of next year's AFI winners.     Hard-working office drone Harold Soyinka (Oyelowo) is the kind of nice guy that always gets into trouble in crime movies, and here he’s in way over his head. His big-spending wife (Thandie Newton) has him in deep debt and his boss-slash-best-friend Richard Rusk (Joel Edgerton) is clearly planning to screw him over in an upcoming corporate merger. But first Harold has to take Richard and his v...

It's tempting to think of Star Wars ' Han Solo - first played by Harrison Ford and now, in his younger incarnation, by Alden Ehrenreich - as the kind of character where a little goes a long way. As a swashbuckling smuggler in the first film, he seemed piped in from another, more grown-up film. He was Luke Skywalker's cooler older brother, the guy that got the girl because he could actually talk to girls, the slightly shady guy who wasn't quite as shady as he seemed. By not being purely good or evil, he gave the Star Wars universe depth; by being charming and flawed he gave Star Wars a sense of fun. So it only seems logical to give him his own movie - and when it turns out, as it does in Solo , that an entire movie based around Han Solo isn't quite as much fun as it seems like it should be, it's just as logical to think that maybe he's a character best consumed in small doses. Thing is, there's already loads of stories built around Han Solo-esque chara...

I saw Tully a few days after visiting a pelvic physiotherapist. I've been in a lot of pain lately after abdominal surgery, and the gentle touch of this practical young woman brought tears to my eyes. Her waiting room was crammed with prams and tired, lumpy-looking new mothers. 'Up to ninety per cent of women who've given birth vaginally have some kind of prolapse,' she told me, proceeding to put her gloved fingers inside me and feel for the places where my own baby had arrived fifteen years ago. Nobody talks about this kind of damage, not really. And nobody talks about the grief and exhaustion of relentless early motherhood, except to joke about it, and say it's all worthwhile and you don't really remember the pain. Bullshit. Tully is a film written by Diablo Cody ( Juno , Young Adul t), herself a mother of three, and while it's supposedly a comedy, it's the most honest representation I've seen on screen of the despair that comes with maternal drudg...